Five non-joining fragments of shoulder and wall. Glaze dull on outside. Surface of figures rather abraded. Max. dim. a) 0.089, b) 0.077, c) 0.147, d) 0.102, e) 0.092.

Athena and the Giant. Fragment a (illustrated) shows the back of the goddess' helmet, a tiny bit of her aegis, and the upper contour of her right arm held out at shoulder level. She moves to right. Behind her head:

Fragment c (illustrated) preserves most of the helmeted head of the giant and part of his raised right forearm. Between his face and forearm:

Fragment d (illustrated) shows most of a round shield seen in three-quarter view (device: tripod). The long, narrow, curved object is the tail of the giant's helmet crest overlapping the shield. At the break to the left of the shield:

and at the right, ivy. The giant was probably running or falling to right, head turned back. Fragment e gives the upper right corner of this panel with the tongue pattern on the shoulder at the junction with the neck and more of the ivy pattern (this ivy is the same size as that on fragment d). Fragment b comes from the other side of the vase from the lower right part of the panel and looks like it preserves the calf of a man. At the right, ivy that has smaller, more closely spaced leaves than that on fragments d and e. Between the leg and the border:

Relief contour. White (flaked): inscriptions.

What remains of Athena's right arm indicates that she held her spear at waist level; otherwise, her forearm and hand would appear to the left of her helmet, where the inscription is. This position of her spear would also account for the defensive gesture of her opponent, who appears slightly lower in the composition. For a parallel, see Athena and her giant in the representation of ca. 470 by the Altamura Painter, London, B.M. E 469 (ARV2 589, 1; Addenda 264; Prange, Niobidenmaler, p. 157, cat. no. A 1, pl. 51, left).

Perhaps by the Goettingen Painter or in his manner. For the helmet crest with three lines and a row of dots, also the eye with centered pupil, see the warriors on Harvard 1925.30.126 by the painter himself (ARV2 234, 11) and New York, M.M.A. 91.1.462 in his manner (ARV2 234, ---, 1; Addenda 200).